any cynics in the audience will probably wish they had taken something." A more positive take appears in the book Visual Media for Teens (2009), which in its chapter on "'Issues of Identity' Films" recommends A Midsummer Night's Rave with the description "This film really manages to stick close to the original story in a delightful retelling of a classic play that appeals to teens." R. S. White, however, in Shakespeare's Cinema of Love: A Study in Genre and Influence (2016), describes it by saying that "... [the] farcical A Midsummer Night's Rave (2002), [is] a conscious pastiche of Shakespeare's play, [and] shows the irrational events being caused by consciousness-altering drugs and the air of psychedelic fantasy created by a musical rave party." Similarly, Joss Whedon as Shakespearean Moralist: Narrative Ethics of the Bard and the Buffyverse (2014) lists it among the films it considers "a hit with the teens" in a chapter exploring films that employ allusions to and loose adaptations of Shakespeare, as distinct from the more strict adaptations of Orson Welles, Laurence Olivier, and Franco Zeffirelli. In an article for Tor.com, Leah Schnelbach and Natalie Zutter lists it as among "Shakespeare Adaptations That Best Speak to Teens", and concludes: "If any of you want to revisit a certain best night of your life subset of 1990s culture, this is your Shakespeare adaptation." In 2016, Kristen Stegemoeller, writing for Paper, listed it as number 8 in a list of "Shakespeare's Teen Movies" based solely on a plot description found on Wikipedia. And in a 2015 article "In Defense of Go As A Rave Movie" (referring to Go (1999)), Genna Rivieccio describes A Midsummer Night's Rave as among the "classics" of rave movies. A Midsummer Night's Rave and the "McShakespeare" A "McMovie"—the application of McDonaldization to movies—is, according to Greenberg, characterised by "[dogged] imitation and allusion rather than experimentation, even within narrow genre confines[.] ... Uninspiring prototypes [that] have spun off sequels, which have birthed still drearier successors—a Barthesian chain of replication unfolding into ever-declining signification." Jess-Cooke adds that "[the] McMovie fundamentally draws attention to the ideological assertions and determining factors of a fast-food chain of film production. ... film rip-offs that champion loose endings, weak, cartoonish characters, inconsistent screenplays, stale narratives, fast pacing, loud music and soundbite dialogue ...". Analogous to this, Jess-Cooke creates the concept of the McShakespeare as a commodification of Shakespeare adaptations. In that context